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Ludics = Play as Humanistic Inquiry /

Record Type:	Language materials, printed : Monograph/item
Title/Author:	Ludics/ edited by Vassiliki Rapti, Eric Gordon.
Reminder of title:	Play as Humanistic Inquiry /
other author:	Rapti, Vassiliki.
Description:	XXV, 470 p. 60 illus., 30 illus. in color.online resource. :
Contained By:	Springer Nature eBook
Subject:	Ethnology. -
Online resource:	https://doi.org/10.1007/978-981-15-7435-1
ISBN:	9789811574351

Ludics = Play as Humanistic Inquiry /
LudicsPlay as Humanistic Inquiry /[electronic resource] :edited by Vassiliki Rapti, Eric Gordon. - 1st ed. 2021. - XXV, 470 p. 60 illus., 30 illus. in color.online resource.

Chapter 1 Introduction -- PART I: PLAYSPACE, ETHICS & ENGAGEMENT -- Chapter 2 Towards an Ethics of Homo Ludens -- Chapter 3 SPORT MATTERS: On Art, Social Artifice and the Rules of the Game, or, the Politics of Sport -- Chapter 4 Pre-Texts: Press Play to Teach Anything -- Chapter 5 Work, Play, and Civic Engagement -- Chapter 6 Technoecologies: The Interplay of Space and its Perception -- Chapter 7 Meaningful Inefficiencies: Caring for Civics in an Age of Smart Cities or Reconsidering Civic Engagement in the 21st Century -- PART II: PLAYTHINGS, COMEDY & LAUGHTER -- Chapter 8 Laughter in Greek Lyric Poetry -- Chapter 9 Ludic Music in Ancient Greek and Roman Theater -- Chapter 10 Did Jesus Christ Laugh? -- Chapter 11 Comedy, Physicality, and Ludic Dance Gestures: The Comic in Ballet and Tai Chi? -- Chapter 12 Toys, Childhood and Material Culture in Byzantium -- PART III: LANGUAGE & POETICS OF PLAY -- Chapter 13 How to Catch a Falling Knife: Poetic Play as the Practice of Negative Capability -- Chapter 14 The Ludic Impulse in Post-Postmodern Fiction -- Chapter 15 Games Translators Play in Bilingual French-Canadian Theater -- Chapter 16 Immigraντ Poetics -- PART IV: PLAY(MODES) & PERFORMANCE AS TRANSGRESSION -- Chapter 17 Ludics as Transgression: From Surrealism to the Absurd to Pataphysics -- Chapter 18 2 Sisters, 2 Stories: Breast Cancer, Femininity, and Body Ownership -- Chapter 19 Don’t Be Mean and Other Lessons from Children’s Plays of the Federal Theatre Project -- Chapter 20 The Republic of Childhood: Friedrich Froebel’s Kindergarten and Naturphilosophie -- Chapter 21 Oscillating Between Tag and Hopscotch: Théo Angelopoulos’ Playful Aesthetics.

This book establishes play as a mode of humanistic inquiry with a profound effect on art, culture and society. Play is treated as a dynamic and relational modality where relationships of all kinds are forged and inquisitive interdisciplinary engagement is embraced. Play cultivates reflection, connection, and creativity, offering new epistemological directions for the humanities. With examples from a range of disciplines including poetry, history, science, religion and media, this book treats play as an object of inquiry, but also as a mode of inquiry. The chapters, each focusing on a specific cultural phenomenon, do not simply put culture on display, they put culture in play, providing a playful lens through which to see the world. The reader is encouraged to read the chapters in this book out of order, allowing constructive collision between ideas, moments in history, and theoretical perspectives. The act of reading this book, like the project of the humanities itself, should be emergent, generative, and playful.

ISBN: 9789811574351

Standard No.: 10.1007/978-981-15-7435-1doiSubjects--Topical Terms:

558761
Ethnology.

LC Class. No.: GN301-674

Dewey Class. No.: 306

Ludics = Play as Humanistic Inquiry /
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505 0 $a Chapter 1 Introduction -- PART I: PLAYSPACE, ETHICS & ENGAGEMENT -- Chapter 2 Towards an Ethics of Homo Ludens -- Chapter 3 SPORT MATTERS: On Art, Social Artifice and the Rules of the Game, or, the Politics of Sport -- Chapter 4 Pre-Texts: Press Play to Teach Anything -- Chapter 5 Work, Play, and Civic Engagement -- Chapter 6 Technoecologies: The Interplay of Space and its Perception -- Chapter 7 Meaningful Inefficiencies: Caring for Civics in an Age of Smart Cities or Reconsidering Civic Engagement in the 21st Century -- PART II: PLAYTHINGS, COMEDY & LAUGHTER -- Chapter 8 Laughter in Greek Lyric Poetry -- Chapter 9 Ludic Music in Ancient Greek and Roman Theater -- Chapter 10 Did Jesus Christ Laugh? -- Chapter 11 Comedy, Physicality, and Ludic Dance Gestures: The Comic in Ballet and Tai Chi? -- Chapter 12 Toys, Childhood and Material Culture in Byzantium -- PART III: LANGUAGE & POETICS OF PLAY -- Chapter 13 How to Catch a Falling Knife: Poetic Play as the Practice of Negative Capability -- Chapter 14 The Ludic Impulse in Post-Postmodern Fiction -- Chapter 15 Games Translators Play in Bilingual French-Canadian Theater -- Chapter 16 Immigraντ Poetics -- PART IV: PLAY(MODES) & PERFORMANCE AS TRANSGRESSION -- Chapter 17 Ludics as Transgression: From Surrealism to the Absurd to Pataphysics -- Chapter 18 2 Sisters, 2 Stories: Breast Cancer, Femininity, and Body Ownership -- Chapter 19 Don’t Be Mean and Other Lessons from Children’s Plays of the Federal Theatre Project -- Chapter 20 The Republic of Childhood: Friedrich Froebel’s Kindergarten and Naturphilosophie -- Chapter 21 Oscillating Between Tag and Hopscotch: Théo Angelopoulos’ Playful Aesthetics.
520 $a This book establishes play as a mode of humanistic inquiry with a profound effect on art, culture and society. Play is treated as a dynamic and relational modality where relationships of all kinds are forged and inquisitive interdisciplinary engagement is embraced. Play cultivates reflection, connection, and creativity, offering new epistemological directions for the humanities. With examples from a range of disciplines including poetry, history, science, religion and media, this book treats play as an object of inquiry, but also as a mode of inquiry. The chapters, each focusing on a specific cultural phenomenon, do not simply put culture on display, they put culture in play, providing a playful lens through which to see the world. The reader is encouraged to read the chapters in this book out of order, allowing constructive collision between ideas, moments in history, and theoretical perspectives. The act of reading this book, like the project of the humanities itself, should be emergent, generative, and playful.
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